Clytaemnestra is compelling matched to its adapted text and its defining power dynamics, but is also a remarkably dry, frequently enervating work of stifled rhythms. What…
Official Competition is a decidedly strange film — formally impressive, off-kilter in its humor, and often incisive with its observations of the state of cinema. If…
Sophia Having established a strong lane for herself somewhere in between narrative and nonfiction filmmaking with her recent run of features, Crystal Moselle stays on…
Within the steadily growing niche genre of Jewish horror, there are two key tales that have a hold over the imagination of filmmakers. With a…
Patrick Bresnan & Ivete Lucas’ documentaries have always gravitated toward the observational, content to let moments unfold in natural manners to reveal some truth about…
Nude Tuesday, it must be said, gets bonus points for creativity. In telling the tale of a long-married couple who attempt to spice up their…
Cha Cha Real Smooth aims to hit viewers squarely in the feels, and even if will be too nicecore for some, Raiff’s brand of earnestness succeeds…
Father of the Bride ticks off the requisite boxes for a film of its ilk, and with some savvy, but its essential shallowness if troubled by…
Brian and Charles is so lightweight as to risk blowing over at any moment, but is also a wholly endearing affair that will charm more viewers…
Face the Sun is a progression for Seventeen, an altogether grander, more cohesive record that proves a wonderful addition to their stellar discography. Thirteen-member boy group…
We is a considerable improvement on Arcade Fire’s dumpster of a past decade, predictably failing to reach the band’s heights but effective in spurts at reminding…
C’mon You Know finds Liam Gallagher leaning hard into his particular rockstar persona, and the formula is as refined as its ever been. Liam Gallagher…
Otoboke Beaver once again take the ceiling off with Super Champon, a thrilling, aggressive sophomore album brimming with ideas, twisted humor, and noise rock blasts. After…
SEVENTEEN Thirteen-member boy group Seventeen (don’t worry about it) debuted on the K-pop scene in 2015 with a progression of singles that brimmed with youthful…
Mad God is a profoundly unique work from Phil Tippett’s frenzied mind, a troubled, personal, and wholly original statement of the aching human heart. More famously…
Stanley Kubrick seems like an odd filmmaker to claim as having underrated films. I’m not as great a fan as most cinephiles, but given the…
There is no defined rubric to be a Bruno Dumont player: the director has spent his career weathering comparisons to Bresson and his predilection for…
Good Luck to You, Leo Grande Good Luck to You, Leo Grande, or so the title of Sophie Hyde’s latest feature goes. It’s a peculiar…
Good Luck to You, Leo Grande is the kind of frictionless non-starter destined to be watched at half-attention. Good Luck to You, Leo Grande, or so…
Family Dinner, Austrian filmmaker Peter Hengl’s feature-length debut, has one insurmountable problem — it hews so closely to the folk-cult horror handbook that anyone who’s…
Natalia Sinelnikova’s We Might As Well Be Dead begins with a bedraggled family slowly traversing a long road through dense forest, a towering high rise…